This is the second of a three part series featuring an interview with John L. Steadman, the author of H.P. Lovecraft & the Black Magickal Tradition. The book examines the influence of H.P. Lovecraft on contemporary occult and magickal practice. In the previous section, Mr. Steadman described his early experiences with Lovecraft’s work and that author’s enduring importance to the field of weird fiction. He also explained his unique perspective on communication with extraterrestrials.
If an authoritative version of the
Necronomicon did exist, how would it be used in the 21st Century? Outside of
occult ritual practice, would it be used for good or evil, or for some other
end?
In a
sense, all of the Necronomicons that we have today, even the ones that I label
“spurious” in Chapter 3 of my book, can be understood as authentic, provided
that they help the magickal practitioner accomplish the goals outlined
previously. A good maxim for magickal
practice is: if it works, use it!
Thus,
the emergence of yet another Necronomicon would do nothing more than give
magickal practitioners in the 21st century another book to use, and
those practitioners would likely use it much the same way that the current
recensions are being used, for either good or evil, depending on the behavior
and proclivities of the individual practitioners.
Is there any evidence that
Lovecraft compared notes with his friend H.S. Whitehead? The latter made
extensive use of material drawn from Vodou in his Tales of the Jumbee. Could
there be a connection between some episodes in The Call of Cthulhu and
Whitehead’s work?
Lovecraft
first received a letter from H. S. Whitehead toward the end of 1930 and this
marked the beginning of their correspondence.
However, it is difficult to determine whether or not the two men
“compared notes” on their writing projects, since there are no surviving
letters by Whitehead to Lovecraft, while Lovecraft’s own side of the
correspondence has also been lost.
Whitehead
was an Anglican priest who officiated at a rectory in Dunedin, Florida, where
Lovecraft visited him on May 21, 1931.
During this visit, Lovecraft collaborated with Whitehead on the story
“The Trap” (published in1932, in Strange
Tales), which ended up being a relatively conventional horror story about a
mirror that traps individuals into a dreamlike realm. The collaboration, in my estimation, is not
very effective; the story starts out as a typical Whitehead tale, light, urbane
and worldly, and then it disharmoniously evolves into the kind of long,
descriptive passages characteristic of Lovecraft’s work. I think that Robert Chambers would have been
a much better fit in terms of a collaborator for Whitehead than Lovecraft.
I’ve
read Whitehead’s Jumbee and Other Uncanny
Tales (1944) and Whitehead was, indeed, familiar with Vodou rites and
practices, at least superficially, while Lovecraft was decidedly not. But I must confess that I see little
connection between Whitehead’s treatment of Vodou practices and Lovecraft’s
depiction of New Orleans Vodou rites in his story “The Call of Cthulhu.” Of course, both men are describing rites
enacted in the woods in the dead of night and so, there are bound to be
similarities: the reddish glare of bonfires; the animalistic cries and chants
of the devotees; the beating of drums, the “animal fury and orgiastic license”,
as it were; and the obligatory human sacrifice.
But this similarity is merely due to the use of the same subject matter
on the part of both men.
References to the occult are also
common in some of Lovecraft’s collaborations with other authors, for example
Through the Gates of the Silver Key, which he co-wrote with E. Hoffman Price.
Was Lovecraft experimenting with various ideas drawn from occult traditions,
with the goal of incorporating them later on in his own work?
In
Chapter 2 of my book, I examine in full detail what Lovecraft knew and how much
he knew about western occultism.
Lovecraft wasn’t too interested in occult ideas; in this, he differs
from Algernon Blackwood, who was a mystic and very much interested in all
facets of occultism.
Certainly,
Lovecraft wasn’t experimenting with occult ideas; he used books such as
Murray’s The Witch Cult in Western Europe
merely to mine them for imagery or for sensationalistic décor that he could
then incorporate into his own work.
Throughout his life, Lovecraft kept his mind firmly closed against any
infiltration of occult ideologies.
The
case of E. Hoffman Price is an interesting one.
Price was so fascinated by “The Silver Key” that he wrote his own sequel,
“The Lord of Illusion”—a rather pedestrian work, incidentally—and Lovecraft,
out of friendship, agreed to help Price revise it. As was Lovecraft’s habit, he did an extensive
rewrite, but I don’t think that the end result can be described as a genuine
collaboration. I tend to agree with S.
T. Joshi’s final assessment of this story, as given in his biography of
Lovecraft, A Dreamer and a Visionary
(2001): “Whereas “The Silver Key” is a poignant reflection of some of
Lovecraft’s innermost sentiments and beliefs, “Through the Gates of the Silver
Key” is nothing more than a fantastic adventure story with awkward and laboured
mathematical and philosophical interludes.”
Besides H.S. Whitehead, other
writers in Lovecraft’s circle, among them Robert E. Howard and Clark Ashton
Smith, made extensive use of occult material in their work. Was there something
unique about that period between the two world wars that encouraged a turn
towards the occult? How has this interest in the occult changed over the
decades since?
Conventional
wisdom insists that there is always a spike in occult interest during times of
particular stress and anxiety in the world and I won’t dispute this. Surely, the period between the two world wars
was a particularly stressful time for many individuals. But there are always going to be wars and
there is always going to be stress because of this, and I think that there
never has been or will be any time in history when interest in the occult will
ever diminish. Western culture has
always been fascinated by magick, infatuated by magick, in fact, and magick has
always maintained an overarching presence at all times, protecting and
nurturing our humanity and our culture.
You acknowledge in your book that
Lovecraft was a materialist and an atheist, disinclined to believe in any
existence of mind or soul outside of the body. And yet his fiction contains
numerous references to both occult and conventional Christian imagery and
ideas. Why do you suppose this is so? What attracted him to these notions?
It is
important to understand that there is no Christian imagery or Christian
ideology in Lovecraft’s work at all. Lovecraft’s colleague August Derleth
mistakenly (deliberately?) tried to impose a Christian schemata on the Cthulhu
Mythos while Lovecraft was still alive, and subsequently, Derleth aggressively
tried to keep this imposition alive after Lovecraft’s death. But in this goal, he was unsuccessful.
Certainly,
there is a clear contrast between good and evil in Lovecraft’s work,
irrespective of any religious overtones.
There is, also, a clear dichotomy between Lovecraft, the atheist and the
materialist, and Lovecraft as a dreamer—as the prophet, in effect, of the Aeon
of the Great Old Ones. In fact, I would
argue that this dichotomy was never resolved by Lovecraft at any time in his
own personal and intellectual life, and that, furthermore, the great power and
fascination inherent in Lovecraft’s work is fueled by this same dichotomy.
Among the occult traditions that
you survey in your book, are there any that Lovecraft would have been
especially interested in or comfortable with, given what is known of the author
from his fiction and correspondence?
I’m
certain that Lovecraft would have been intrigued by the metaphysical and
philosophical speculations raised by the Chaos Magickians. He would have been interested in the quantum
elements inherent in the Vodou religion as well. But Lovecraft, of course, wouldn’t have had
any use for anything else associated with the occult systems that I examine in
my book, any more than he had any use for the trappings and elements of
Christianity.
To be continued…
********************
Mr.
Steadman and I differ somewhat—it may be just a matter of semantics—on the appearance
and purpose of conventional Christian imagery in Lovecraft’s work. There is no question that Lovecraft—a man of
considerable integrity—remained true to his atheist and materialist principles
all his life. Nevertheless, in my view
at least, Christian imagery is frequent in Lovecraft’s work, and the author
uses it often very cleverly to amplify the horror or weirdness in some of his
stories. I catalog some of these
instances in H.P.
Lovecraft Goes to Church. An example of how he effectively used one such image is described in The
Lurking Fear and the Prodigal Son.
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